Words by David C. Obenour
Experimental and improvisational are descriptors for jazz that usually find themselves gravitating toward further reaching orbits. To experiment with tones or create within a moment can be challenging paths when considered alongside the lineage of creatives that have come before you. But these trajectories can have just as many inspired origins as unique destinations.
Alongside the musicians assembled for The Dennis Egberth Dynasty, Swedish drummer Dennis Egberth presents an inspired collection of searching soundscapes. Utilizing vintage electronics, wurlitzer, and more traditional analog instruments, the songs hypnotically build and evolve, dissolve and disrupt – but sequenced within understood constructs. Classic with a twist.
Off Shelf: As a drummer and composer, what do you think you may be able to have extra insight on for song creation? Where does your ear go that it might not have with another principal instrument?
Dennis Egberth: I am mostly focusing on the group sound rather than, for example how the melody is supposed to be exactly phrased. And I guess rhythmic layers. Even if the drum part is the last thing I come up with for a song.
OS: When assembling the players for this album, what were you looking for? There are obviously countless ways, but how do you feel they helped shape the compositions? How did they evolve around what you may have initially envisioned?
DE: Everyone in the group are musicians I really love to play with and listen to. I often try to give as little instructions as possible so that the compositions can come to life with help of their artistic expressions. Sometimes I need to instruct more to make the music take the direction I want and sometimes I don’t have to say anything and it’s perfect. I try to have an open mind and curiosity when I bring new music to a group. To leave stuff open for interpretation and improvisation for the musicians forces everyone to listen more and contribute with their vibe.
OS: I was really struck by how well the album hangs together as a whole. Did you have a concept of intent in what you wanted to accomplish through this collection of music?
DE: I had a sound and feeling that I was aming for. I wanted to let the music take its time, let the listener be lulled into a hypnotic, trance-like feeling. The blend between the Wurlitzer and the electronics also helps with the dreamy, trancy feeling that I guess goes through the album.
OS: How many songs did you go into the studio with? Were any left off?
DE: We recorded two more songs that did not fit on the record. They may be released later.
OS: I’m really drawn in by the introduction of sounds – maybe coming from the double bass – around the seven minute mark of PanGu. It almost sounds menacing in the midst of a very beautiful arrangement. Can you talk more about how you choose to incorporate that and what you hear in it?
DE: I assume you are referring to PanGu Part 2. I find it interesting to mix light and dark, beautiful and “ugly” – it creates multi-dimensional layers of emotion. It also makes me feel free to push the boundaries of using cute and beautiful parts that, if they stood on their own, would be dead and boring.
OS: It also provides a really great lead in for Chichen Itza. I was wondering why you named it after the Mayan temple? What about the music connected you to that?
DE: I am just very fascinated by that place and the temple, all those ancient massive monuments around the world. That kind of epic feeling those places give me is also somewhat the feeling I wanted to express with this band and record.
OS: Speaking of that, the sequencing is also really masterfully done here. What was your approach? What did you intend to guide the experience through?
DE: Thank you! I just tried to make a nice storyline. Most songs had their almost self-given place, some I had to experiment with a little but I think it turned out good in the end.
OS: Do you think your approach to improv informs how you approach that? How is the approach to sequencing a live set different to creating that for an album?
DE: It might shine through, I don’t know. I try to not be to attached to the record when we preform live. Especially time wise. Live, every build up can be even longer when we don’t have the record length that the music will need to fit on and you get the energy from the audience. We have just played one concert so far with this band. That was in January this year and then the songs got more than double the length of the record.
OS: Bogey has a really fascinating trajectory, starting somewhere more familiar or maybe traditional sounding and then about two minutes in making some really exciting departures. Can you talk about that evolution? What do you see as the balance of contemporary and classic?
DE: That’s the only song that I actually did not write for this project. It’s a song that had been with me for a while and I thought it should fit well with this groups sound and setting. I wanted to pull the rug out in the second solo to come away from a too classic jazz structure.
I don’t know about the balance of contemporary and classic. What’s good is good. But I prefer not remaking stuff that already exists. Classic with a twist is nice!
OS: Speaking of that balance, electronics are another thing you are known to add into the music you make. What do you like about what these instruments can add to the traditional analog ones? How do you like incorporating them into your sound?
DE: I like that they can add a totally different layer and texture to the music.